REGENT THEATRE

Dominion, Volume 29, Issue 196, 16 May 1936, Page 15

REGENT THEATRE

•‘Modern Times” Charlie Chapiiu —a name that in the “pre-ialkie” days was sulheient to make a nauginy child decide to be good tor tear he might be prevented trout seeing Its owner —has made yet another picture, and one that allows Him to emerge just as triumphant as was the case with his old silent dims. This latest ottering, released by United Artists, opened at the Kegent Theatre last night, when one look al me crowded house (there was a Queue waitui" at a quarter to seven last evening) made one realise very definitely that Charlie Chaplin was not merely a name but someone to be reckoned with. The new him is called “Modem Times,” and tells ot the adventures of a workman who, through pure misadventure, duds himself in jail on numerous occasions, but who, when released. always buds a young orphan girl whom he had befriended waiting tor him. They go through many adventures, and finally set out to try and make their fortune. the picture eliding in true Chaplin fashion with the little comedian walking out of the him—but this time, departing from his usual custom, he still has his sweetheart with him. There is no doubt that this is one of the finest films Chaplin has ever made, and that for all its oldfashioned silent devices (the comedian never speaks, although he sings in hilarious fashion in one sequence), its almost tinnecessary captions and awkward stoiy tricks, it has dignity, feeling and power. It is a comedy of poverty; the comedy Chaplin has always played. But this time it is not a never-never land of poverty a circus, a back lot or any waterfront—it is a poverty of our own times; and it is very real. It is also very funny, tor the super-pantomimist has not lost his touch. In fact, to judge by the prolonged shrieks of laughter heard last night, he is funnier than ever. Also, he has become a slightly different type of funny man —one that has always wanted to be and has, in Modern Times,” finally created. It would be impossible to attempt to describe all the funny scenes, but those that stand out are the machine room at the factory where Chaplin is employed, the hilarious times when he is night watchman in a department (here he gets an opportunity to display his remarkable talents as a skateij. and the cafe sequences when he sings a French version of that catchy number, “Tilina,” so popular a few years ago. Playing opposite the comedian is the elli.-u Paulette Goddard (his financee), who is ideally cast as a gamin of the waterfront. Then there is Chaplin’s old partner, Hank Mann, who played with him in many of the silent films, From start co finish, the picture is genuine entertainment, and even though the comedian does not speait, it in no way seems to detract from the enjoyment of the show. Perhaps it is just as well that he does not speak, for the show is so funny and the laughter of the audience so loud, that it is doubtful it any of the dialogue would be heard above the mirth of those in the theatre. Preceding “Modern Times” is a most entertaining supporting bill, including gazettes, a Mickey Mouse cartoon, and a new ‘ March of Time,” telling in graphic manner of events past and present in France and in Russia.